... 2022 This book analyzes and theorizes unnatural (that is, antimimetic) narratives in digital media; in doing so it promises to greatly extend the range of unnatural studies, revise and add to narrative theory, intervene in the theory and analysis of digital narratives, and critically deploy...

... Richardson argues that (contemporary, mimetic) narratology must be expanded in order to account for antimimetic, unnatural narratives. After defining the latter and showing how they challenge and transgress frequently used notions in narratology — narrators can be multiform and combine a number...

.... The argument is developed through a reading of Peter Verhelst’s The Man I Became and through a discussion of the case of mind reading. Copyright © 2018 Porter Institute for Poetics and Semiotics 2018 antimimetic cognitive narratology fictional minds mind reading unnatural narratology...

... – 40 . Richardson Brian . 2012a “ Antimimetic, Unnatural, and Postmodern Narrative Theory ,” in Narrative Theory: Core Concepts and Critical Debates , edited by Herman David Phelan James Rabinowitz PeterJ. Richardson Brian Warhol Robyn , 20 – 27 ( Columbus : Ohio...

... of art a realm she sees as ‘‘anti-natural, antimimetic, unreal’’ The grid, she concedes, does in some sense point outward to com- pel ‘‘our acknowledgement of a world beyond the frame but it does so in an ambivalent and even schizophrenic manner, ultimately ‘‘introject[ing] the boundaries...

... of the story are set forth.3 Richardson, who discusses such time maneuvers in the context of what he calls “unnatural” narratology, defines them as “antimimetic.” Since I am about to employ the term mimetic quite extensively, I would like to distinguish between the meanings in which he and I use...

... Writers and Narrative Voice (1992) remains the model for tracing the link between narrative voice and social authority from the eighteenth to the twentieth century. Recent work in “unnatural narratology,” such as Brian Richardson’s (2015) history of antimimetic narratives and Jan Alber’s (2016...

..., it is their antimimetic drive, which obviously (re)crosses two long familiar, trendy negatives: gen- eral anti-representationalism and genre-directed antinarrativity, which have often converged since the Russian Formalists, with “estrangement” as inherited supreme countervalue (Sternberg 1978: 307...

... conceals the artistic “device” behind a lifelike facade, instead of “laying it bare” with a view to estrangement (Sternberg 1983a: esp. 149ff., 2006, 2012: esp. 338ff This antimimetic dogma has persisted since in the vocal bias against representation (or from the reader’s side, “naturalization...